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    <title>Death</title>
    <link>https://www.peren-revues.fr/revue-k/591</link>
    <description>Entrées d’index</description>
    <language>fr</language>
    <ttl>0</ttl>
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      <title>Monsieur Verdoux e l’assoluta alterità della morte</title>
      <link>https://www.peren-revues.fr/revue-k/587</link>
      <description>While analysing Monsieur Verdoux by Charlie Chaplin, this essay argues that a limit is the actual link between Verdoux and Charlot. Both, in other words, share a limit beyond which the transcendence of death can be glimpsed. As their borders get blurred until they become one, their reciprocal differences becoming indifferent, both Verdoux and Charlot are swallowed in the abyss of the transcendence of death – the same abyss swallowing the very distinction between comedy and noir. </description>
      <pubDate>jeu., 04 janv. 2024 11:48:08 +0100</pubDate>
      <lastBuildDate>jeu., 15 févr. 2024 15:32:03 +0100</lastBuildDate>
      <guid isPermaLink="true">https://www.peren-revues.fr/revue-k/587</guid>
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    <item>
      <title>Dark Lucretius: The Birth of Death</title>
      <link>https://www.peren-revues.fr/revue-k/1191</link>
      <description>This paper argues that Lucretius ended his epic poem De Rerum Natura with the death of the world and the plague at Athens because he was not merely a philosopher of life and creativity as many scholars believe. For Lucretius, the entropic processes of death and dissolution are the origins of creativity and life. I also argue, against the Epicurean interpretation of Lucretius, that the conclusion of De Rerum Natura shows how different the two thinkers were. In particular, the article looks closely at lines 91-234 of book five and offers an alternative interpretation of Lucretius’ philosophy of history and death in which the ending of the book fits perfectly not despite its darkness but because of it. </description>
      <pubDate>ven., 02 févr. 2024 11:21:07 +0100</pubDate>
      <lastBuildDate>mar., 13 févr. 2024 12:29:17 +0100</lastBuildDate>
      <guid isPermaLink="true">https://www.peren-revues.fr/revue-k/1191</guid>
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    <item>
      <title>Della morte e di altre forme di resistenza</title>
      <link>https://www.peren-revues.fr/revue-k/961</link>
      <description>“Who is Pinocchio?” Around this question goes this contribution aimed at exploring the relationship that Collodi's novel has with the cinematographic dimension. In particular, this article is inspired by the latest film version of Pinocchio, edited by Matteo Garrone. The remarkable adherence to the spirit that runs through Collodi's text makes Garrone's work one of the most representative of the contemporary film scenario. </description>
      <pubDate>lun., 15 janv. 2024 12:15:51 +0100</pubDate>
      <lastBuildDate>mar., 13 févr. 2024 11:24:56 +0100</lastBuildDate>
      <guid isPermaLink="true">https://www.peren-revues.fr/revue-k/961</guid>
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